Posted on No Comments on 2.3 Every body: performance’s other bodies

2.3 Every body: performance’s other bodies

By Anna Fenemore (pp.38-50)

  • Perception is “something we do” (de Guevara) and “a skillful [bodily] activity” (Noë)
    (some body observed , the spectating body)
  • As well as there being some bodies that act, react and behave as singular bodies, these bodies might also simultaneously act as a body of bodies.
    Body as a group – a communal grouping that act and react, or behave as one some of the time.
  • When in action, an individual’s sensorimotor means of surveying action recedes.

 

Pitches, J., and Popat, S. (ed.) (2011) Performance Perspectives: A Critical Introduction. New York: Palgrave Macmillan
Posted on No Comments on 7 Thoughts about Seven Easy Pieces by Marina Abramovic

7 Thoughts about Seven Easy Pieces by Marina Abramovic

≥ It manipulates the repetition and temporality[1]

≥ It keeps a relationship with body and architecture and performance and photography[2]

≥ It demonstrates that all understanding occurs through embodied acts of attendance, which occur in time and must be repeated.[3]

≥ Abramovic’s body becomes a metonym for the performances that she re-performed[4]

≥ It addresses duration, physical stamina, myth and intensive states of mind, such as attentiveness and focus[5]

≥ It is about re-performance , habits, ritual, deprivation, purification, privacy …[6]

≥ …and exhaustion[7]

 

 

[1] Santone, J. (2008) Marina Abramović’s Seven Easy Pieces: Critical Documentation Strategies for Preserving Art’s History. Leonardo. Vol. 41, No. 2, pp. 147–152
[2] ibid
[3] Shalshon, L. (2013) Enduring Documents: Re-Documentation in Marina Abramović’s Seven Easy Pieces. Contemporary Theatre Review, London: Routledge,  Vol. 23, No. 3, 432–441
[4] Powell, B.D. (2010)   Seven Easy Pieces and Performance Document(ation)s. Theatre Annual 63. The College of William and Mary. pp 64-86
[5] Emerling, J. (2010). Marina Abramovic: The Artist Is Present: Museum of Modern Art, New York. X-tra: Contemporary Art Quarterly, Vol. 13, pp.26-35
[6] ibid
[7] ibid
Posted on No Comments on Bibliography

Bibliography

  • Benjamin, W. (1977) The Work of Art in the Age of Mechanical Reproduction, in Illuminations. Translated by Harry Zohn. New York, NY: Schocken Books
  • Durning, J., Waterhouse, E. (2013) 77 choreographic proposals: Documentation of the evolving mobilization of the term choreography. International Journal of Performance Arts & Digital Media, Vol. 9 Issue 1, p. 44-51
  • Elin Diamond, ed, Performance and Cultural Politics (New York: Routledge 1996), 5
  • Emerling, J. (2010). Marina Abramovic: The Artist Is Present: Museum of Modern Art, New York. X-tra: Contemporary Art Quarterly, Vol. 13, pp.26-35
  • Heddon, D., Iball, H. and Zeriham, R. (2012) Come Closer: Confessions of Intimate Spectators in One to One Performance. Contemporary Theatre Review, 22(1) 120 – 133.
  • Johnson, D. (2012) The Kindness of Strangers: An Interview with Adrian Howells. Performing Ethos, 3(2) 173-190.
  • Lepecki, A (ed.) (2012) DANCE: Documents of Contemporary Art. London: Whitechapel Gallery
  • Lepecki, A. (2004). ‘Concept and Presence: The European Dance Scene’, in A. Carter (ed.) Rethinking Dance History: A Reader. London: Routledge, pp. 170-181.
  • Lepecki, A. (2010) The Body as Archive: Will to Re-Enact and the Afterlives of Dances, Dance Research Journal, 42(2) 28-48
  • Murray, S. & Keefe, J. (2007). Physical Theatres: A critical introduction. Routledge: London & New York. p.60
  • Phelan, P. (1993). Unmarked: the politics of performance. London: Routledge. Chapter 7
  • Pitches, J., and Popat, S. (ed.) (2011) Performance Perspectives: A Critical Introduction. New York: Palgrave Macmillan
  • Powell, B.D. (2010) Seven Easy Pieces and Performance Document(ation)s. Theatre Annual 63. The College of William and Mary. pp 64-86
  • Santone, J. (2008) Marina Abramović’s Seven Easy Pieces: Critical Documentation Strategies for Preserving Art’s History. Leonardo. Vol. 41, No. 2, pp. 147–152
  • Shalson, L. (2012) On the Endurance of Theatre in Live Art. Contemporary Theatre Review, 22(1) 106-119.
  • Shalshon, L. (2013) Enduring Documents: Re-Documentation in Marina Abramović’s Seven Easy Pieces. Contemporary Theatre Review, London: Routledge, 23, No. 3, 432–441
  • Thomas, H. Reconstructing the Dance: In Search of Authenticity. The Body, Dance and Cultural Theory. New York: Palgrave Macmillan, 2003. pp. 121-145